beauty. But, on the contrary, if a word or a look or
a touch could express it, its beauty, and its power, and its worth would
not be thus blemished. Byron would have spoken that word were it
lightning. Hence arises the interest and charm in beholding the picture
of an artist, where so much is revealed at a glance; for it is thought
which is expressed there. Hence, also, it becomes evident that far more
can be expressed in a figure of speech, quickly and boldly put, than
could be otherwise presented in hours or days. "A single hieroglyphic
character," says Champoleon le June, "would probably convey more to the
mind of an ancient Egyptian than a quarto page would to a European."

Perspicuity, therefore, is not necessarily devoid of energy or elegance,
in fact the only means to secure a clear and concise style is to use the
trope--especially in the two forms of metaphor and comparison: observing
always that long and labored figures of speech are generally ambiguous,
and always have a bad effect. Their beauty, and worth, and power consist
in the brevity and clearness with which they are expressed. "The thought
expressed in a single line by Chaucer," says Lord Kames, "gives more
luster to a young beauty, than the whole of his much labored poem,

"Up rose the sun, and up rose Emilie."

Perspicuity, then, we would consider the very soul of vivacity, and
vivacity the soul of eloquence.

The elegance or beauty of expression is of far less consequence, and
must often be sacrificed to the very nature of ideas. It can not be said
that all ideas are beautiful. There are uncomely and hideous things on
earth; there are disagreeable and hateful subjects to be spoken of, and
there are painful feelings to be expressed. Language would fail to
subserve the end for which it exists, did it not correspond to the
sources of thought and the objects to be described; otherwise it would
not be language. To be elegant, therefore, at all times, in speaking or
writing, involves an absurdity, inasmuch as only a part of our ideas
could be expressed were this the case. The simple narration of facts
enlightens; elegance soothes and pleases; but vivacity moves to action.
It is the duty of the writer to make his style and language correspond
with his subject.

Keeping the foregoing principles in view, the reader may apply such
terms to the piece he reads, or the discourse he hears, as may be most
fitting. It is thus we speak of concise, diffuse,